As I sat wedged against the stage at the Bottom Line on the night of the show, admiring the guitar arsenal of Justin Jordan, and downright coveting his steel-body Dobro, I couldn't help but think of the sheer irony of one small detail.
Just about a year ago, when my very first round of Rory Gallagher CDs arrived in the post and I wilted on to my sofa to listen to them, I had a real blinder of a headache, and a broken elbow, and was feeling mightily sorry for myself.
This night found me recovering from a couple of ankle sprains, cautiously maneuvering my way around with a cane and, once again, I had a real blinder of a headache. However, I also had a very firm belief in Rory Gallagher's power to reach out from beyond the grave and take the pain away, just as he had done a year before.
I was not disappointed. Gallagher's spirit was present in the room, very nearly tangible, and inspired a diverse group of musicians to do him proud. Suffice it to say, it wasn't too long before I forgot all about that headache, thanks to Gallagher's wonderful music (and a little extra protein from a not-half-bad Bottom Line cheeseburger).
Whose toes could fail to tap along with the sheer ebullience of Larry Kirwan's "Messin' with the Kid"? And who could not marvel at "Out on the Western Plain," especially when considering that it took three accomplished guitarists to recreate what Gallagher himself played solo in countless live shows during his too-short lifetime?
Matt O'Ree, a young guitarist from New Jersey, evoked Gallagher in both musical skill and physical appearance. Small in stature, with long, straight hair framing an angelic face, clad in simple denim, he took the stage with complete confidence and revved up from zero to sixty in a nanosecond. He displayed the same intensity and focus typical of a Gallagher performance, paying noble tribute to Gallagher, but never becoming his clone. O'Ree's renditions of "Moonchild" and "Laundromat" smoked, and the audience was delighted to have him return at the end of the evening, for the encore performance of "Bullfrog Blues." I've a feeling we'll all be hearing a great deal more about this fella in the coming years.
To learn more about Matt and his music, please visit:
Matt O'Ree and the Blueshounds.
Also compelling was Justin Jordan: he of the aforementioned arsenal I wish I owned. I was fortunate to be seated directly in front of him for the show. He was a pleasure to watch, as well as to hear. His slide work, an element that must come into play when any guitarist seeks to honor Rory Gallagher, was excellent, and I also found his personal Gallagher story especially moving.
Some years before, Jordan and a friend sought to attend a Gallagher concert in Boston, with just one ticket between them for a sold-out show. There was not a spare ticket to be had anywhere, for any price: not even from "unofficial" sources. When all hope seemed lost, whom should they encounter but Gallagher himself? Upon hearing the tale of their dilemma, Gallagher advised Jordan: "Give the ticket to your friend." He then handed his guitar case to Jordan and said, "Follow me." Problem solved, and a young musician further inspired by his hero's unforgettable kindness and generosity.
To learn more about Justin and his music, please visit:
Justin Jordan.
Other highlights of the evening included Sean Fleming's beautiful, plaintive rendering of Gallagher's signature anthem, "A Million Miles Away," and Seamus Kelleher's humorous and masterful "Banker's Blues." The latter drew some audible chuckles from the audience at the wry delivery of lyrics such as: "If you've got money in the bank, don't let your woman draw it out, 'cause she'll take all your possessions and then she'll kick you out."
To learn more about Sean and his music, please visit:
The Sean Fleming Band.
To learn more about Seamus and his music, please visit:
Blackthorn.
It was Larry Kirwan, though, who forced us all to look at both sides of Rory Gallagher's life and music. Kirwan, in his usual style, presented all aspects of the picture in a bluntly honest way, and reminded the audience that this prince of a man suffered some intense struggles in his lifetime, with alcohol, and with his own psyche. Especially in the last years of his life, Gallagher was unable to see, or believe, how much he was loved and respected by others. He withdrew into himself, to be overcome at last by his own sadness, compounded with the physical damage done by a deadly combination of the drink and prescription medications.
Kirwan documented Gallagher's joyous beginning and tragic end in a three-song nutshell: "Messin' with the Kid," his own tribute song, "Rory," and "Too Much Alcohol."
This was the first time I had ever seen Kirwan perform without an electric guitar strapped on. He did use an acoustic for "Rory," but for the other two songs, he relied on the other fellas in the band for a solid, driving back-up, and tore into the vocals, dancing wildly and slinging the mic stand around with great vigor: a most exciting performance.
To learn more about Larry and his music, please visit:
Black 47.
Towards the end of the night, just when I thought things could not possibly get any more sublime, Pierce Turner, rumpled as an unmade bed, appeared on stage with an acoustic guitar. The soft, simple riff he began to play was no Gallagher tune, but rather a Turner original about Gallagher, composed just a few days before. It began with: "Rory Gallagher bought a cheap guitar," and ended with something like: "we didn't know you'd die so soon." I wish I had had a piece of paper handy to jot some of the other lyrics down for posterity. I've forgotten them now, alas! But it takes me more than one hearing to get lyrics into my head, anyway. What I do remember is that the song moved me to tears and left me speechless.
To learn more about Pierce and his music, please visit:
Pierce Turner.
Seamus Kelleher is to be commended for putting together such a well-organized, well-executed event. There was some talk of making the tribute show an annual event, and I hope this will come to pass. It certainly got off to a fine start with a sold-out house. These shows don't just serve to keep Gallagher's name and memory alive; they enable a damn fine group of musicians to showcase their own expertise, and honor a worthy inspiration.
And, lest we forget -- in a display of generosity worthy of Gallagher himself, every single one of these fine musicians volunteered their time to participate in this event. This included rehearsals as well as the show -- a truly awesome gift to everyone who attended, and loving tribute to a kind, beautiful man.
It was also a privilege and an honor to meet Donal Gallagher, who journeyed from England to attend.
I have no doubt that Rory Gallagher, in his corner of Heaven, is aware…and smiling as he feels the love that flows towards him on a never-ending "crest of a wave."
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C.P. Warner
30 October 2002
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